The Penallt Organ

The Organist of the Church, David R Murray, has set out his vision for the instrument in the following (which he has kindly agreed for us to include on the Phoenix website).









Mixture  IV

Plein jeu IV-V

Cornet IV-V

Fourniture IV

Scharf  III


  1. 8.12.15.--













  8.12 .15 19

















  5.  8.  8.12.15


  8.12 15.15








Sample / Voicing notes


  1. Soubasse 32 classical French bass ? adds depth to Principal 16 but doesn't overpower Bourdon 16; and, if poss, still audible under the Bombarde 16.
  2. Violone 16 one of the two English voices on the organ ! Wide-scaled semi-principal/mild string tang. Non-imitative : adds weight to the fundamental of the principal chorus.
  3. Choral bass 4 Assertive open metal principal.
  4. Gedacktpommer 4 Wide-scale stopped metal flute.
  5. Mixture IV A full mixture : at bass C with one break in the compass at c#1 to
  6. Bombarde 16 Big French reed; the dominant voice in the pedal department.
  7. Fagott 16 Assertive inverted conical reed?..German in style ?softer/more harmonic content than a Posaune but capable of colouring the principal chorus - certainly equivalent in power [if not a little more] than Gt Cromorne.
  8. Dulzian 8 or Regal 8 Medium power German solo reed for chorale preludes which also blends into chorus like a small-scaled trumpet. Somewhere between Swell hautbois and Trumpet in power. May need a bright reedy tang to carry in the ensemble whereupon a full-throated Regal might be more appropriate.


  1. Prinzipal 8 Oktav 4 Superoktav 2 Basic chorus stops: Germanic in sound, full but not fat, with precise attack.
  2. Flûte 16 A full French flute that contrasts with the Quintäton 16 on the Sw and is able to balance the 8 Prinzipal. Not too thick in the bottom two octaves ? ie more transparent here than a Bourdon.
  3. Diapason 8 A full English Open Diapason which will add solidity to the 8 register to balance full upperwork . Should also be able to blend with the Chamade Trumpet so as to add a certain fatness and give more of an English Romantic solo reed sound to this stop combination.
  4. Weitgedackt 8 or Portunalflöte 8 cf Sw Spitzflöte 8 a stop for effects lying between principal- and flute-based choruses; a fairly assertive wide-scaled wood flute with good attack that contrasts sound character-wise with the metal Spitzflöte as the basis of a flute chorus. [Both Gt Flute/Gedackt and Sw Spitzflöte are chiffy.]
  5. Tolkaan/Dolcan 8 or Dulciana 8based on a metal flue stop with inverted conical pipes. The gentle, accompanimental Dutch baroque type [Tolkaan ] is preferred but German Dolcan also OK. Tone should be halfway between a wood flute and a string stop which speaks with a plaintive sweetness. Closest modern equivalent is probably a Cone Gamba, but I don't want anything Victorian. A better solution would then be a Dulciana, but the brighter earlier Snetzler type rather than the duller 19th century version.
  6. Unda maris 8 Classical baroque wavering stop. Able to form a “string” accompaniment to a solo stop on swell when coupled with Tolkaan/Dolcan/Dulciana, but strong enough to introduce a light tremulant when drawn with the Cromorne.
  7. Großquint 5 1/3 Quint 2 2/3 Wide-scale German mutations please, which however don't overpower the 16 or 8 flutes ie. should be able to form solo combinations with the flutes as well as adding fullness to principal chorus.
  8. Plein jeu IV-V ranks French-scaled full mixture breaking back every octave. Four ranks in the bass with a fifth rank added at tenor c thus:
    C 15 19 22 26 --
    c 12 15 15 19 22
    c1 8 12 15 15 19
    c2 8 8 12 12 15
    c3 5 8 8 12 15
  9. Cornet IV-V ranks Composite solo stop capable of good chorus blend with flues and reeds and low chorus mixture??..therefore only four ranks from bottom C with the tierce added from tenor g upwards, thus:
    C 1 8 12 15 --
    c 1 8 12 15 --
    g 1 8 12 15 17 to the top.
  10. Cromorne 8 Colourful French solo reed that can also blend as a lighter-toned chorus trumpet [Therefore stronger than Swell Hautbois].
  11. Chamade Trumpet 8 Spanish type ; brilliant, full and assertive but not a fat, honking trumpet that cancels out the rest of the department : neither should it be acid in tone.


  1. Montre 8 Prestant 4 French fluty-toned principals please.
  2. Gambe 8 Rich French type.
  3. Spitzflöte 8 Metal flute with pronounced chiff that forms good contrast to smoother toned Flûte harmonique. Able to form the foundation of a complete Positiv chorus.
  4. Nason flute 4 or Flûte octaviante 4 to best blend with both 8 flutes. Nason flute might be best?
  5. Nazard 2 2/3 Tierce 1 3/5 Larigot 1 1/3  Samples based on French wide-scaled, fluty-toned, mutations please.
  6. Fourniture IV ranks  Classical French mixture, in the bass, breaking back every octave thus:
    C 19 22 26 29
    c 15 19 22 26
    c1 12 15 19 22
    c2 8 12 15 19
    c3 8 12 15 15
  7. Scharf III ranks Brilliant high mixture which adds sparkle rather than shrillness to whole ensemble. Breaks back every octave plus one extra break in the fourth octave thus:
    C 29 33 36
    c 26 29 33
    c1 22 26 29
    c2 19 22 26
    f#2 15 19 22
    c3 12 15 19
  8. Basson 16 Trompette harmonique 8 Clarion 4  French Cavaillé-Coll type reeds please; assertive, open speech rich in harmonics, capable of good chorus blend with flues [i.e. definitely not fat, closed English reeds with weighted tongues and closed shallots]

Console layout

Left Jamb   Right Jamb
Great Pedal Swell
    Sbsse  Princ  Vlne  Bdn  Oct  BFl  Chb  Gdtp  Mix  Bom  Fg  Reg  Trpt  Schal  Sw/Pd  Gt/Pd  Gt /PCn     Phoenix  Panel    
Sw to Gt
Cham trpt 8
Plein jeu IV-V
Superokt 2
Oktav 4
Weitgedackt 8
Diapason 8
Prinzipal 8
Flûte 16
Oct graves
Cromorne 8
Cornet IV-V
Quint 2 2/3
Chimney fl 4
Großquint 5 1/3
Unda maris 8
Erzahler 8

Upper Manual (Swell)

Lower Manual (Great)

Hautbois 8
Scharf III
Larigot  11/3
Tierce 13/5
Nazard  22/3
Koppelflote  4
Spitz fl  8
Voix cel II
Gambe 8
Clairon 4
Trpt ha 8
Basson 16
Fourniture IV
Blockfl 2
Prestant 4
Flûte ha 8
Montre 8
Quintatön 16


© David R Murray & Phoenix Organs 2004
Last updated 1 December 2004